E-Issue 07 –– AUH
Winter 2023-24

January 29th, 2024

  1. Editor’s Note
  2. What’s On in Abu Dhabi/Dubai
  3. Cover Interview: Shaikha Al Ketbi on Darawan
  4. Rapport: Public Art in the Gulf and a Case Study of Manar Abu Dhabi
  5. Hashel Al Lamki’s Survey Exhibition Maqam Reflects on a Decade of Practice in Abu Dhabi
  6. “You Can’t Stand on a Movement”: Michelangelo Pistoletto Interviews Benton Interviewing Pistoletto

Winter/Spring 2024

Curators Interview May 14, 2024
AUH Embracing Change through an Open System: Maya Allison and Duygu Demir on “In Real Time” at NYUAD Art Gallery

About ––

    What We Do
    Editorial Board

Interviews ––

    Selected Archive

Open Call ––

    E-08 Seoul

Newsletter ––

Chronological Archive ––

    Selected Archive

Artist Interview November 18th, 2016
AUH Raed Yassin in Abu Dhabi

Editorial March 1st, 2018
AUH Abu Dhabi Is The New Calabasas

Exhibition Listing May 22nd, 2018
DXB Christopher Benton: If We Don't Reclaim Our History, The Sand Will

Artist Interview June 15th, 2018
TYO An Interview with BIEN, a Rising Japanese Artist

Artist Interview July 17th, 2018
TYO Rintaro Fuse on Selfies and Cave Painting

Artist Interview August 28th, 2018
BER Slavs and Tatars: “Pulling a Thread to Undo The Sweater”

Artist Interview September 1st, 2018
NYC Shirin Neshat In Conversation with Sophie Arni and Ev Zverev

Artist Interview September 1st, 2018
PAR Hottest Spices: Michèle Lamy

E-Issue 01 –– AUH/DXB
Summer 2020

August 1st, 2020

  1. Editor’s Note
  2. What’s On in the UAE
  3. Pop(Corn): Hashel Al Lamki
  4. Tailoring in Abu Dhabi
  5. Rapport: Dubai
  6. Michael Rakowitz From the Diaspora

Fall/Winter 2020-21

Artist Interview August 23rd, 2020
LHR/MCT Hanan Sultan Rhymes Frankincense with Minimalism

Artist Interview August 24th, 2020
DXB Augustine Paredes Taking Up Space

Artist Interview August 26th, 2020
AUH Sarah Almehairi Initiates Conversations

Market Interview August 28th, 2020
AUH/DXB 101 Pioneers Ethical and Curious Art Collecting

Exhibition September 1st, 2020
DXB Alserkal Arts Foundation Presents Mohamed Melehi

Market Interview September 4th, 2020
DXB Meet Tamila Kochkarova Behind ‘No Boys Allowed’

Artist Interview September 7th, 2020
DXB Taaboogah Infuses Comedy Into Khaleeji Menswear

Artist Interview September 10th, 2020
LHR/CAI Alaa Hindia’s Jewelry Revives Egyptian Nostalgia

Curator Interview September 14th, 2020
UAE Tawahadna Introduces MENA Artists to a Global Community

Exhibition Review September 24th, 2020
MIA a_part Gives Artists 36 Hours to React

Artist Interview September 27th, 2020
AUH BAIT 15 Welcomes New Member Zuhoor Al Sayegh

Market Interview October 14th, 2021
DXB Thaely Kicks Off Sustainable Sneakers

Exhibition Review October 19th, 2020
DXB Do You See Me How I See You?

Exhibition October 22nd, 2020
TYO James Jarvis Presents Latest Collages at 3110NZ

Exhibition Review October 22nd, 2020
AUH Ogamdo: Crossing a Cultural Highway between Korea and the UAE

Book Review October 28th, 2020
DAM Investigating the Catalogues of the National Museum of Damascus

Exhibition Review November 13th, 2020
Kanye Says Listen to the Kids: Youth Takeover at Jameel Arts Centre

Exhibition Review November 16th, 2021
DXB Melehi’s Waves Complicate Waving Goodbye

Exhibition Review November 19th, 2020
DXB Spotlight on Dubai Design Week 2020

Exhibition Review November 21st, 2020
DXB 101 Strikes Again with Second Sale at Alserkal Avenue

Exhibition Review
November 23rd, 2020

AUH SEAF Cohort 7 at Warehouse 421

Exhibition Review December 9th, 2020
SHJ Sharjah Art Foundation Jets Ahead on the Flying Saucer

Curator Interview January 25th, 2021
DXB Sa Tahanan Collective Redefines Home for Filipino Artists

Exhibition Review February 21st, 2021
GRV MIA Anywhere Hosts First Virtual Exhibition of Female Chechen Artists  

🎙️GAD Talk Series –– Season 1 2020

November 1st, 2020
1. What is Global Art Daily? 2015 to Now

November 16th, 2020
2. Where is Global Art Daily? An Open Coversation on Migration as Art Practitioners

November 29th, 2020
3. When the Youth Takes Over: Reflecting on the 2020 Jameel Arts Centre Youth Takeover

December 20th, 2020
4. Young Curators in Tokyo: The Making of The 5th Floor

January 27th, 2021
5. How To Create Digital Networks in The Art World?

E-Issue 02 –– NYC
Spring 2021

February 21st, 2021

  1. Editor’s Note
  2. What’s On in NYC
  3. Pop(Corn): Zeid Jaouni
  4. You Can Take The Girl Out Of The City
  5. Rapport: NYC
  6. Kindergarten Records Discuss The Future of Electronic Music
  7. Sole DXB Brings NY Hip-Hop To Abu Dhabi
  8. Wei Han Finds ‘Home’ In New York
  9. Vikram Divecha: Encounters and Negotiations

Spring/Summer 2021

Exhibition Review March 3rd, 2021
DXB There’s a Hurricane at the Foundry

Exhibition Review March 7th, 2021
AUH Re-viewing Contrasts: Hyphenated Spaces at Warehouse421

Curator Interview March 21st, 2021
DXB Permeability and Regional Nodes: Sohrab Hura on Curating Growing Like a Tree at Ishara Art Foundation

Exhibition March 28th, 2021
DXB Alserkal Art Week Top Picks

Exhibition Review April 1st, 2021
DXB A ‘Menu Poem’ and All That Follows

Exhibition Review April 5th, 2021
DXB A Riot Towards Landscapes

Exhibition April 16th, 2021
RUH Noor Riyadh Shines Light on Saudi Arabia’s 2030 Art Strategy

Artist Interview April 26th, 2021
CTU/AUH/YYZ Sabrina Zhao: Between Abu Dhabi, Sichuan, and Toronto

Exhibition Review April 27th, 2021
TYO BIEN Opens Two Solo Exhibitions in Island Japan and Parcel

Artist Interview April 28th, 2021
DXB Ana Escobar: Objects Revisited

Exhibition May 9th, 2021
LDN Fulfilment Services Ltd. Questions Techno-Capitalism on Billboards in London

Artist Interview May 11th, 2021
BAH Mihrab: Mysticism, Devotion, and Geo-Identity

Curator Interview May 20th, 2021
DXB There Is A You In The Cloud You Can’t Delete: A Review of “Age of You” at Jameel Arts Centre

Market Interview May 26th, 2021
TYO Startbahn, Japan’s Leading Art Blockchain Company, Builds a New Art Infrastructure for the Digital Age

Exhibition June 11th, 2021
TYO “Mimicry of Hollows” Opens at The 5th Floor

Exhibiton Review June 20th, 2021
AUH “Total Landscaping”at Warehouse 421

Artist Interview June 30th, 2021
OSA Rintaro Fuse Curates “Silent Category” at Creative Center Osaka

Exhibition Review August 9th, 2021
DXB “After The Beep”: A Review and Some Reflections

E-Issue 03 ––TYO
Fall 2021

October 1st, 2022

  1. Editor’s Note
  2. What’s On in TYO
  3. Pop(Corn): Nimyu
  4. Ahmad The Japanese: Bady Dalloul on Japan and Belonging
  5. Rapport: Tokyo
  6. Alexandre Taalba Redefines Virtuality at The 5th Floor
  7. Imagining Distant Ecologies in Hypersonic Tokyo: A Review of “Floating Between the Tropical and Glacial Zones”
  8. Ruba Al-Sweel Curates “Garden of e-arthly Delights” at SUMAC Space
  9. Salwa Mikdadi Reflects on the Opening of NYU Abu Dhabi’s Arab Center for the Study of Art

Fall/Winter 2021-22

Market Interview October 6th, 2021
RUH HH Prince Fahad Al Saud Discusses Saudi Arabia’s Artistic Renaissance

Exhibition October 7th, 2021
RUH Misk Art Institute’s Annual Flagship Exhibition Explores the Universality of Identity

Curator Interview October 15th, 2021
IST “Once Upon a Time Inconceivable”: A Review and a Conversation

Exhibition Review October 16th, 2021
AUH Woman as a Noun, and a Practice: “As We Gaze Upon Her” at Warehouse421

Exhibition Review February 11th, 2022

Artist Interview February 26th, 2022
TYO Akira Takayama on McDonald’s Radio University, Heterotopia, and Wagner Project

Artist Interview March 10th, 2022
DXB Prepare The Ingredients and Let The Rest Flow: Miramar and Zaid’s “Pure Data” Premieres at Satellite for Quoz Arts Fest 2022

Exhibition March 11th, 2022
DXB Must-See Exhibitions in Dubai - Art Week Edition 2022

Exhibition Review March 14th, 2022
DXB Art Dubai Digital, An Alternative Art World?

E-Issue 04 –– IST
Spring 2022

March 15th, 2022

  1. Editor’s Note
  2. What’s On in IST
  3. Pop(Corn): Refik Anadol
  4. Rapport: Istanbul
  5. Independent Spaces in Istanbul: Sarp Özer on Operating AVTO

Spring/Summer 2022

Curator Interview March 21st, 2022

Market Interview March 28th, 2022
DXB Dubai's Postmodern Architecture: Constructing the Future with 3dr Models

Exhibition April 23rd, 2022
HK Startbahn Presents “Made in Japan 3.0: Defining a New Phy-gital Reality”, an NFT Pop-Up at K11 Art Mall

Exhibition May 6th, 2022
Istanbul’s 5533 Presents Nazlı Khoshkhabar’s “Around and Round”

Artist Interview May 13th, 2022
“We Are Witnessing History”: Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian On Their Retrospective Exhibition at NYU Abu Dhabi Art Gallery

Artist Interview June 13th, 2022
DXB “Geometry is Everywhere”: An Interview and Walking Tour of Order of Magnitude, Jitish Kallat’s Solo Exhibition at Dubai’s Ishara Art Foundation

Exhibition June 21st, 2022
DXB Art Jameel Joins The World Weather Network in a Groundbreaking Response to Global Climate Crisis

Exhibition June 27th, 2022
What’s On in the UAE: Our Top Summer Picks

Curator Interview July 9th, 2022
IST Creating an Artist Books Library in Istanbul: Aslı Özdoyuran on BAS

E-Issue 05 –– VCE
Fall 2022

September 5th, 2022

  1. Editor’s Note
  2. What’s On in VCE
  3. Pop(Corn): UAE National Pavilion
  4. Rapport: Venice
  5. Zeitgeist of our Time: Füsun Onur for the Turkish Pavilion at the 59th Venice Biennale
  6. GAD’s Top Picks: National Pavilions
  7. Strangers to the Museum Wall: Kehinde Wiley’s Venice Exhibition Speaks of Violence and Portraiture
  8. Questioning Everyday Life: Alluvium by Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian at OGR Torino in Venice

Fall/Winter 2022-23

Market Interview June 28th, 2022
How Pearl Lam Built Her Gallery Between China and Europe

Exhibition November 11th, 2022
“Atami Blues” Brings Together UAE-Based and Japanese Artists in HOTEL ACAO ANNEX

Exhibition December 2nd, 2022
TYO Wetland Lab Proposes Sustainable Cement Alternative in Tokyo

Artist Interview December 9th, 2022
DXB Navjot Altaf Unpacks Eco-Feminism and Post-Pandemic Reality at Ishara Art Foundation

Artist Interview January 8th, 2023
TYO Shu Yonezawa and the Art of Animation

Artist Interview January 19th, 2023
NYC Reflecting on Her Southwestern Chinese Bai Roots, Peishan Huang Captures Human Traces on Objects and Spaces

Exhibition Review February 9th, 2023
DXB Augustine Paredes Builds His Paradise Home at Gulf Photo Plus

Artist Interview February 22nd, 2023
DXB Persia Beheshti Shares Thoughts on Virtual Worlds and the State of Video Art in Dubai Ahead of Her Screening at Bayt Al Mamzar

E-Issue 06 –– DXB/SHJ
Spring 2023

April 12th, 2023

  1. Editor’s Note
  2. What’s On in the UAE
  3. Pop(Corn): Jumairy
  4. Rapport: Art Dubai 2023
  5. Highlights from Sharjah Biennial 15
  6. Is Time Just an Illusion? A Review of "Notations on Time" at Ishara Art Foundation
  7. Saif Mhaisen and His Community at Bayt AlMamzar

DXB Christopher Joshua Benton to Debut Mubeen, City as Archive at The Third Line Shop in Collaboration with Global Art Daily

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6. GAD’s Top Picks: National Pavilions

By NiccolòAcram Cappelletto

Published on September 5th, 2022  


Eden-Like Garden preserved for the Chosen ones

Curated by Mohamed Shoukry with artists Weaam El Masry and Ahmed El Shaer

The Egyptian Pavilion consists of an artificial intelligence media installation representing the female womb. Upon entering the room, the viewer finds themselves before “AI-generated images projected on huge pink organic forms” (edelikegarden.com) that cover a wide range of topics from birth to the universe. The use of algorithms in art becomes in the Egyptian pavilion a propulsion of images that are not random but selected purposefully in an unexpected encounter.

1. Pavilion of Egypt, EDEN-LIKE GARDEN PRESERVED FOR THE CHOSEN ONES, photo by Marco Cappelletti. 2022. Courtesy of La Biennale di Venezia.

You Are Another Me - A Cathedral of the Body

Curated by Cosmin Costinas and Viktor Neumann featuring Adina Pintilie

Pintilie brings to the Romanian Pavilion a multi-media film installation with the idea of the body at its centre. You Are Another Me - A Cathedral of the Body investigates the power of bodies’ intimacy in light of a pandemic that caused social and physical distancing as well as a war in Ukraine that is bringing destruction. While tackling issues of gender, body normativity, and sexual representations, Pintilie ‘transforms the historically loaded pavilion into a contemporary cathedral that celebrates the body and human connections beyond any preconceptions’ through the use of film (Romania Pavilion).

2. Pavilion of Romania, You Are Another Me – A Cathedral of the Body. Photo by Marco Cappelletti. 2022. Courtesy of La Biennale di Venezia

Nordic Countries

The Sámi Pavilion

Curated by Katya García-Antón, Liisa-Rávná Finborg and Beaska Niillas exhibiting Pauliina Feodoroff, Máret Ánne Sara, Anders Sunna

Commonly known as the Nordic Pavilion, Norway, Sweden, and Finland changed the approach for this Biennale’s edition by featuring the Sámi Pavilion project with artists Feodoroff, Sara, and Sunna. The word “Sámi” refers to the indigenous populations of Sapmi inhabiting the areas of the countries represented and the Kola peninsula in Russia. The artworks range across performance, video installation, sculpture, painting, and installations offering an encompassing vision of the ‘relations across generations’ (The Sámi Pavilion). The theme of indigeneity is investigated through the lens of the current changes due to the climate crisis that are causing the loss of Sámi knowledge and worldview.

3. Pavilion of Nordic Countries, The Sami Pavilion. Photo by Marco Cappelletti. 2022. Courtesy of La Biennale di Venezia.

United States of America

Simone Leigh: Sovereignty

Curated by Eva Respini featuring Simone Leigh

Sovereignty is the title of the personal exhibition of Simone Leigh taking place at the United States of America Pavilion at the Venice Biennale. By exhibiting a group of new artworks, Leigh explores the ‘construction of Black femme subjectivity’ (USA Pavilion). The exhibition threads between the ritual performances of the Baga populations in Guinea, material heritage from Black American communities in South Carolina, and the 1931 Paris Colonial Exposition. With her monumental sculptures, Leigh presents a message of self-determination against structures of oppression. Leigh’s artworks are also present in the exhibition The Milk of Dreams and her contribution was recognised with the Golden Lion for the Best Participant in the International Exhibition of this Venice Biennale edition.

4. Pavilion of United States of America, Simone Leigh: Sovereignty. Photo by Marco Cappelletti. 2022. Courtesy of La Biennale di Venezia.


The Importance of the Origin Will Be Imported by the Origin of the Substance

Curated by Alejo Ponce de León featuring Mónica Heller

In a series of 3D-video installations, the Argentinian Pavilion presents its work of Heller in an alienating experience while focusing on the absurdity of the material world. Heller builds a “sensory landscape” (Argentinian Pavilion) that mixes the real with the symbolic from the artist’s personal experience of the world. The video Il Piccione Parlante (The Speaking Pigeon) best represents the ideas of the pavilion. The short film is a work of animation in which the bird “recites an absurd and fiery soliloquy” (Argentinian Pavilion), pointing out a heavy criticism of some of the most relevant issues in today’s capitalistic societies.

5. Pavilion of Argentina, The Importance of the Origin Will Be Imported by the Origin of the Substance, Photo by Andrea Avezzù. 2022. Courtesy of La Biennal di Venezia.


Black Star - The Museum as Freedom

Curated by Nana Oforiatta Ayim featuring Na Chainkua Reindorf, Diego Araúja, and Afroscope

The Ghanaian Pavilion presents young artists Afroscope, Chainkua Reindorf and Araúja to tackle issues of marginalization and artistic expression. The title refers to the black star in the national flag and the presence of emerging art gives the direction of the exhibition’s future thinking. Paintings, installations, and drawings are the media used in the pavilion and altogether they offer an exciting and promising view of Ghanaian young art in a world that, as pointed out by the curator Oforiatta Ayim, sees them as ‘not being established, “developed” enough, not having enough funds’ and so on.

6. Pavilion of Ghana, Black Star - The Museum as Freedom. Photo by author. 2022.

New Zealand

Paradise Camp

Curated by Natalie King featuring Yuki Kihara

Paradise Camp is the exhibition of Yuki Kihara for the New Zealand Pavilion. By showing the colonial legacies on gender, especially the impact on indigenous societies, Kihara, an artist of Samoan and Japanese origins, leads the visitor on a journey across media and human representations, in which the role of community becomes the protagonist to fully accept one’s identity and to build societal bonds. As Jim Vivieaere describes, “Kihara steers us towards a geo-poetics of place, eliciting our capacity to imagine relationships anew while forging radical forms of togetherness and solidarity” (Paradise Camp).

7. Pavilion of New Zealand, Paradise Camp, Photo by Andrea Avezzù. 2022. Courtesy of La Biennale di Venezia.


Pulp III: A Short Biography of the Banished Book

Curated by Ute Meta Bauer featuring Shubigi Rao

The Singaporean Pavilion presents the third stage of the ongoing artistic project of Shubigi Rao about “the history of book and library destruction, its impact on humanity, and the futures of knowledge” (Singapore Pavilion). The exhibition presents as an installation in the shape of a book in which the visitor walks through its pages. At the end of the visit, the film Taking Leaves “comprises existing research and recent footage” as a “visual manifestation” of Rao’s practice (Singapore Pavilion). Investigating the possible lives of histories through books, Pulp III represents an attempt to build an inclusive environment for those histories that end up neglected, if not erased.

8.Pavilion of Singapore, Pulp III: A Short Biography of the Banished Book, Photo by Andrea Avezzù. 2022. Courtesy of La Biennale di Venezia.

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